- Page 4: Credits & copyrightMembers of the D
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- Page 12: RelevanceThe objectives of the proj
- Page 16: IntroductionThe main activities of
- Page 20: IntroductionActing a role in a play
- Page 24: IntroductionIn educational theatre
- Page 28: thoughts, feelings and facts in bot
- Page 32: enable a process of learning to lea
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- Page 44: Documented practicesZone of Proxima
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Documented practicesThe final progr
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• her/his own challenges are more
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Documented practices• What is thi
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e. What we were exploring (objectiv
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Documented practicesIV. THE PAINTIN
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Documented practicesHeathcote, Doro
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Documented practicesThe kids also m
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Documented practicesJackie reported
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Aesthetic GoalsDramaturgical starti
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Documented practicesThe project had
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Documented practicesExplorers repor
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Documented practicesThe activities
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Documented practiceslike any gymnas
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The teacher can either involve two
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Documented practicesThe fear never
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Documented practicesTeacher-in-role
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Documented practicesThe specific le
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g. Source MaterialA full text of th
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Documented practicescurriculum, mak
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Documented practicesFacilitator rea
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Documented practicesAlthough the ci
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Documented practicesScene 2The teac
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• When choosing a topic, you can
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Documented practicesthis is the gif
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Documented practicesk. Teachers: A
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Documented practicesvalues - love t
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Documented practicesyoung people we
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The Facilitator asks the class to r
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Documented practicesVery early on i
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Documented practicesIt is our belie
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Documented practicesKrisztina: 37-y
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Documented practicesThird scene(Pri
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Documented practicesyou would be af
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Documented practicesPRINCE Rather p
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Pedagogical and artistic perspectiv
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Documented practicesPuppets and fre
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What you can dothe general developm
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ConceptuallearningAn abstract expre
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AppendicesProtectionResonanceRitual
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Homepages related to educational th
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Heathcote, Dorothyand Bolton, Gavin
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Appendix C.Contactingconsortium mem